During the next few months the couple at Lewside Cottage made merry over that clock. Left to himself Peter would have said no more about it, but would simply have added it to his stock of earthly possessions. However, Boodles gave him no peace. Peter could hardly enter the village for the necessity of his existence without being accosted upon the subject; and at last the slumbering fires of mechanism within him kindled into flame. He declared he had never seen such a clock; it was made all wrong; it was not in the least like Grandfather. He explained that it would be necessary to take it entirely to pieces, alter the works considerably, and reconstruct it in accordance with the recognised model, adding such things as weights and pendulum; and that would be a matter of a year's skilled labour. He pointed out, moreover, that the clock was painted green, and that in itself would be sufficient to clog the works, as it was well known that clocks would not keep proper time unless they were painted brown. That was a trade secret. Boodles replied that there was nothing whatever wrong with the works of the clock. It only required cleaning, and she believed she could do it herself. Peter wagged his head in amazement. The folly and ignorance of young maids eclipsed his understanding.
The second year came to an end, and the clock was in precisely the same condition as at first. Peter was glad to have it because it made a nice ornament for his section of Ger Cottage. He had only touched it once, and then Mary, who happened to be present, exclaimed: "Dear life, Peter, put 'en down, or you'll be tearing 'en."
The tenants of Lewside Cottage had become tired of the endless comedy. So, on that morning when Boodles had her letter, it was the most natural thing in the world for Weevil to suggest that she should go and reclaim their property; and as the girl was longing for the open moor and the sight of Tavy Cleave, which was on the way to fairyland, she went, running part of the way for sheer joy, singing and laughing all the time.
The hut-circles were deserted. Mary was out on the "farm," which was a ridiculous scrap of reclaimed moor about the same size as an Italian mountaineer's vineyard; and Peter had gone to the village inn on business. Boodles looked inside. There was Grandfather, ticking in his usual misanthropic way; and there was the uncleaned clock in the centre of the long shelf which ran above the big fire-place. Boodles took it, and ran off, laughing to think of Peter's dismay when he returned and discovered that his mantelshelf lacked its principal ornament. He would think some one had stolen it, and the fright would be a punishment for him. Boodles raced home, put the clock on the kitchen table, opened it, and placing the nozzle of the bellows among the works cleaned them vigorously. When old Weevil came shuffling in the clock was going merrily.
"I've done in two minutes what Peter couldn't do in two years," laughed the happy child.
Weevil shuffled out. He was in a restless mood. He knew he ought to tell Boodles that she mustn't be happy, only he could not. Somebody or something would have to use her as she had used the clock; blow wildly into her poor little soul, and do for her in two minutes what Weevil would never have done in two years.
CHAPTER VIII
ABOUT ATMOSPHERE
There are secret places among the rocks of Tavy Cleave. The river has many moods; one time in the barren lands, another time in bogland, and then in hanging gardens and woodland. No other river displays such startling Protean changes. The artist always fails to catch the Tavy. He paints it winding between low banks of peat, with blossoms of pink heather dripping into the water; but that is not the Tavy. He presents it as a broiling milk-white torrent, thundering over rocks, with Ger Tor wrapped in cloud, and bronzed bracken springing out of the clefts; but that is not the Tavy. He represents it shaded with rowan and ferns, its banks a fairy carpet of wind-flowers, and suggests a gentle river by removing the lace-like pattern of foam and the big boulders, and painting the water a wonderful green, with here and there a streak of purple; but still he has not caught the Tavy. He goes down from the moor and shows a stately stream, descending slowly a lew valley between hills, partly wooded, partly cultivated; shows the smoke of scattered Bartons mixing lazily with the clouds and going with them sea-ward; shows cattle feeding and bluebells nodding; a general atmosphere that of Amaryllis and her piping shepherd, though the lad is only a dull clod and his pipe is of clay, and Amaryllis has dirty finger-nails; but again the elusive Tavy has escaped somehow. Once more he tries. There is the Tavy, like an ocean flood, coming across mud-flats, mingled with brother Tamar of the border; a dull unromantic Tavy then. The magic mist of bluebells has given way to the blue steel of the railroad, and wooden battleships, their task over, float upon its waters instead of fern-fronds. Not a fairy-tale is to be told, nor any pretty fancy to be weaved there. The pictures go into galleries, and win fame, perhaps; but the river of Tavy chuckles over his rocks, and knows he is not there.